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A young African-American man visits his Caucasian girlfriend's mysterious family estate.
Storyline
A young black man visits his white girlfriend's family estate where he learns that many of its residents, who are black, have gone missing, and he soon learns the horrible truth when a fellow black man on the estate warns him to "get out". He soon learns this is easier said than done.
Director: Jordan Peele
Writer: Jordan Peele
Stars: Daniel Kaluuya, Allison Williams, Bradley Whitford
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Posted on 11:03 PM
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6.6/10 by 95 users
Both physical and psychological horrors affect a decomposing family, workers and residents of an insane asylum, a coven of witches, and a cast of circus freaks in this anthology series, focusing on the themes of infidelity, sanity, oppression, and discrimination.
User Reviews
Initially I was left wondering how - what essentially is a short horrormovie - could be made in to a long running TV series, but after a few episodes I started to realise that it's the Ryan Murphy magic that is sustaining this outstanding show.
Much like Nip/Tuck, you have to suspend your belief and see this as purely entertainment. There's so many open ended narratives that are slowly unfolding and although at times the show verges on the edge of cliché, a single episode could easily match the brilliance of such horror classics like The Amityville Horror and The People Under the Stairs.
At the end of every episode I feel shocked that 40 minutes have gone by, which is a sure sign that this show is pure, unadulterated, entertainment.
AHS Hotel, American Horror Story: Hotel, História de Horror Americana, American Horror Story - Die dunkle Seite in dir, داستان ترسناک آمریکایی, Американская история ужасов, Amerikan Korku Hikayesi, American Horror Story: Freak Show
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Posted on 1:45 AM
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7.6/10 by 280 users
Rick Grimes is a former Sheriff's deputy who has been in a coma for several months after being shot while on duty. When he awakens he discovers that the world has been ravished by a zombie epidemic of apocalyptic proportions, and that he seems to be the only person still alive. After returning home to discover his wife and son missing, he heads for Atlanta to search for his family. Narrowly escaping death at the hands of the zombies on arrival in Atlanta he is aided by another survivor, Glenn, who takes Rick to a camp outside the town. There Rick finds his wife Lori and his son, Carl, along with his partner/best friend Shane and a small group of survivors who struggle to fend off the zombie hordes; as well as competing with other surviving groups who are prepared to do whatever it takes to survive in this harsh new world.
User Reviews
I first started hearing rumors of a t.v. series based on the comic book some time ago. By the end of summer, I was reading about an official series in virtually every horror magazine I subscribe to and names like Darabont, Gale Ann Hurd and Nicotero were attached along with comic book series creator Kirkman having an active hand. Well, episode one debuted on AMC on All Hallow's Eve and it's exceeded my every expectation. Admittedly, I hadn't read the comic book (though I'm sure gonna now) but I've been a huge zombie movie fan primarily thanks to George Romero. The show looks and sounds like a movie with top-notch production values and fabulous zombie FX. Lennie James steals the show so far in an exceptional cast. On top of it all, Darabont and Kirkman have humanized the unhuman in their touching teleplay adaption. No doubt, AMC have another runaway hit on their hands.
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Posted on 1:30 AM
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6.4/10 by 31 users
Four men set out in the Wild West to rescue a group of captives from cannibalistic cave dwellers.
User Reviews
Just back from watching this movie in the local cinema. From start to finish this film works. The dialog is consistently good. The acting is a very high quality. This film works at a number of different levels. It evokes the spirit and feeling of a classic western like the searchers but also has a sinister undertow which hints at a greater menace lurking in the background. The characters are really well drawn and as the film progresses, the bond between them grows naturally. There is genuine horror in this movie also and the protagonists are scary on a human level. Kurt Russell is superb in this film as is his sidekick Richard Jenkins. It almost seems unfair to single out anyone as there are no weak performances in this piece of work. I happened to watch Slow West last week. It is a good film and a different type of movie. But if you are looking for an entertaining evening, go see this instead.
Kurt Russell, Richard Jenkins, Matthew Fox, Lili Simmons, Sean Young, Patrick Wilson, Geno Segers, David Arquette, Kathryn Morris, Sid Haig, Michael Paré
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Posted on 6:59 PM
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6.2/10 by 188 users
A movie review by Charlie
The feasting of the eyes comes to mind when realizing the polished opulence of writer-director Guillermo del Toro’s Gothic supernatural production Crimson Peak. Undeniably luscious and wonderfully bizarre, Crimson Peak is a psycho-sexual thriller that resonates with the enticing visual senses and registers with the proper amount of off-kilter seduction and twisted charm. For filmmaker del Toro his unconventional narratives have always been peppered in exquisite bounciness regardless of their hit-or-miss effectiveness. In joining past del Toro genre-ridden offerings that range from the revered cult-like stimulation of Pan’s Labyrinth to the misplaced but eye-popping stiffs such as Blade II and Pacific Rim it is safe to declare Crimson Peak as another elegant and gaudy candy-coated canvas of del Toro’s imaginative cinematic vision.
Aesthetically stunning and armed with a sophisticated lining of suspense, Crimson Peak does not necessarily exude any real momentum of toxic scares or memorable chills. Still, it manages to rely on its Gothic-induced romanticism that is enough to accept this splashy and offbeat vehicle on the merits of its unique brand of animated style. Sure, there are displayed predictable paths to tap into Crimson Peak’s erratic pulse and maybe del Toro and fellow co-screenwriter Matthew Robbins could have injected some more convincing bits of subversive edginess to spice up its modest creepiness. Nevertheless, one can appreciate the borrowed Hitchcockian overtones combined with the arresting set designs and peculiar ensemble. This alone invites Crimson Peak as a colorful costume drama layered in concentrated showiness.
Thankfully, the October release of Crimson Peak should echo the spooky spirit of Halloween appropriately and offer some seasonal sizzle for the macabre-embracing moviegoers. The story may not be startling to the point of an innovative revelation but the winning element–at least one of them anyway–is the exceptional art direction and production design that suitably defines del Toro’s mystifying universe of nostalgic ghostly aberrations. Crimson Peak will not be confused with high-minded horror anytime soon but it does effectively promote its lush, Gothic-induced romantic vibes.
Budding American novelist Edith Cushing (Mia Wasikowska, “Alice in Wonderland”) has one specific belief system to hang her literary hat on and the sentiment is self-explanatory: “Ghosts are real!”. This haunting message has plagued Edith since she was a young girl growing up in Buffalo, New York in the early 1900’s. Edith was an only child of privilege and an apple in the eye of her widowed wealthy father in businessman Carter Cushing (Jim Beaver). Naturally the protective parental instincts kick in as Cushing is weary of an opportunist that might wanting to court his eligible daughter Edith.
Enter the seemingly shifty and broke British aristocrat Sir Thomas Sharpe (Tom Hiddleston). Sharpe has an agenda and it is quite clear. Apparently Sharpe wants to shop around a potential profit-making mining device and needs financial support and promotion from an influential American contact. Coincidentally, Sharpe starts a relationship with promising writer Edith whose Daddy Dearest happens to be a prominent industrialist. How convenient, huh? The skepticism about Sir Thomas Sharpe starts to mount for the concerned Carter Cushing as he stands by and regrettably witnesses his precious offspring Edith’s affection for the cunning character.
Of course Sharpe is not the only target that moneybags Cushing needs to worry about as the loving companion to his treasured Edith. Sharpe’s older sister Lady Lucille Sharpe (Jessica Chastain, “The Martian”) accompanies her sibling on his mission to do whatever he has planned for his personal gain. So now Cushing has double trouble with the mysterious brother-sister Sharpe tandem as they are embedded in the indelible psyche of the artistic Edith. However, the Sharpes have spun their web as they now have turned Edith into a member of their family as both wife and sister-in-law. Thus, a fresh existence begins for Edith Cushing Sharpe on the other side of the pond in Northern England where the Sharpes’ Cumberland-based estate Allerdale Hall is located.
Realistically, the less-than-stellar Allerdale Hall is not exactly the ideal venue that caters to the so-called prominence of the aristocratic Sharpes. The vast Victorian house is relentlessly drab and does not reflect the impressive homestead that it should be in status and structure. In making matters worse at Allerdale Hall Edith is restricted from stepping into certain parts of the dilapidated dwelling. Plus, Edith is overwhelmed by the recurring appearances of pesky apparitions that roam in and out of the expansive hallways of the isolated, blood-colored domicile. Lastly, the creaky goings-on is not helped a bit by the drastic change in hubby Sir Thomas’s demeanor as Edith feels duped by his on-going indifference. Edith has to feel uneasy and uncertain about what she has gotten involved with concerning the grasp of the mischievous Sharpes and the life-long warnings of afterlife spirits in the decaying manse that she has been taught to take seriously since childhood.
The sinister symbolism is adequately atmospheric and the erratic pacing makes for some rather genuine, tense moments. However, Crimson Peak does show some flashes of being a slight boofest melodrama that undermines its titillating convictions. As an eerie romancer Crimson Peak feels a tad uneven. The three-way love triangle pitting Wasikowska’s Edith against both Hiddleston’s Sir Thomas Sharpe and Charlie Hunnan’s Alan McMichael (Edith’s first suitor before Sharpe’s arrival) could have been explored but felt rushed and pushed aside. The whispering presence of shadowy ghostly figures floating about within the decrepit walls of Allerdale Hall makes for some convincing hair-raising hedonism that is compatible with del Toro’s topsy-turvy color-toned exposition.
Overall, the real scene-stealers behind Crimson Peak’s brightly spry makeup belongs to the film’s handlers responsible for the glossy sheen of this eye-fetching film project. Credit the sumptuous contributions in the aforementioned art design and sets (not to mention the crisp cinematography and fashionable costumes) to propel Crimson Peak’s entertainment value beyond the tepid lapses in manufactured jitters.
Mia Wasikowska, Jessica Chastain, Tom Hiddleston, Charlie Hunnam, Jim Beaver, Burn Gorman, Javier Botet, Sofia Wells,Emily Coutts, Laura Waddell, Doug Jones
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4.9/10 by 22 users
Plenty of times you watch a bad film and come out sighing: “That’s a shame, there was a good movie in there somewhere!” Scouts Guide to the Zombie Apocalypse offers no such frustration. This is idiocy from soup to nuts, devoid of any clever ideas, meaningful performances or memorable set pieces. But it isn’t wholly without merit, as there are a few jocular gross-outs involving squished undead breasts, ripped ghoul penises and the entrails of a belligerent deer. For teens that are too old to go trick-or-treating but aren’t quite of age to go barhopping, this low-budget flick offers a handful of amusements as it perpetuates our poisonous, conformist popular culture.
After an energetic and largely wordless prologue in which a dopey janitor at a biotech firm unleashes a viral plague, we meet our male teen heroes. Ben (Tye Sheridan) is a decent kid who feels guilty for wanting to ditch his nerdy friend Augie (Joey Morgan) and enter the world of parties and skirt-chasing with Carter (Logan Miller). For years the three have been Scouts (note: never Boy Scouts, as we must assume they couldn’t get that name) but Augie is the only one who takes it seriously. Carter convinces Ben that the twerpy uniform is killing their game, and when they get invited to an older kids’ secret rave, he agrees it’s time to move on. But as they sneak away from camp one night – even if it does come after a montage of true, pure scoutin’ fun – that’s when the mayhem begins.
The first victim is their dorky leader (David Koechner), whose only character note is that he’s obsessed with Dolly Parton. It’s mostly so we can have a grunting, lamp-smashing brawl between he and Augie to the strains of 9 to 5. Meanwhile, Ben and Scout run afoul of a brain-hungry horde at a strip club (Lawrence of Alabia’s, har har har) and end up teamed with Denise (Sarah Dumont) a notorious high school dropout a few years their senior whose white tank top is so tight it’s a wonder this poor woman didn’t asphyxiate during production.
The action scenes are routine, but do pep up when they finally get silly. Legendary comedian Cloris Leachman, age 89, plays the crazy cat lady next door, and you know what they say: when you introduce a hissing feline in act one, you need to infect it with supernatural powers by act three. The chase eventually leads to the big teen dance, where Carter’s sister (and Ben’s crush) is trapped, and only the boys’ scouting skills can save her. (The absurdity of an enormous warehouse with professional lighting, state-of-the-art sound and hundreds of lithe sexpots dancing the night away in the middle of Nowhereseville, Suburbia is never addressed.)
As Ben uses the crises as an opportunity to gain confidence, Carter continues to make lewd jokes. And while it’s fair to say that many a 15-year-old boy keeps prurience paramount, even if it were the end of the world, there are one too many instances in which the film itself is laughing with the sexist remarks, not at them. (It’s easy to pitch a film as “a horror Superbad”, but not as easy to write a script with the scope of Superbad.)
It’s to Scouts Guide to the Zombie Apocalypse’s misfortune that the basic storyline (town succumbs to supernatural mayhem, band of misfits races to central location to save the day) is currently playing out in two other, far superior films. There’s less nudity in Goosebumps, but what it loses in cleavage it makes up for in genuinely creativity, while the New Zealand horror-comedy pic Deathgasm can show this wussy wide release a thing or two about being subversive. Looks like someone won the redundancy badge.
Paramount Pictures, Oops Doughnuts Productions, Broken Road Productions, Brucks Entertainment
Production Countries
:
United States of America
Casts
:
Tye Sheridan, Logan Miller, Joey Morgan, Sarah Dumont, David Koechner, Cloris Leachman, Halston Sage, Patrick Schwarzenegger, Sara Malakul Lane, Blake Anderson, Hiram A. Murray
Plot Keywords
:
female nudity, shotgun, nudity, strip club, party, gore,decapitation, shot in the head, zombies, exploding head, severed penis, boy scouts
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Posted on 1:11 AM
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6.8/10 by 2727 users
Advanced word said World War Z – based on Max Brooks's book about a worldwide zombie apocalypse – was the walking dead. It was over-long, over-budget. It needed several rewrites and seven weeks of reshoots to make any sense. This was the giant zombie turkey, come screeching from the shadows to tear the careers of director Marc Forster and producer/star Brad Pitt to shreds.
Yet, while some of World War Z is rotten, the whole stands as a punchy, if conventional action thriller. Pitt plays Gerry Lane, a UN inspector chosen to investigate the source of a viral outbreak that has quickly, mercilessly zombified 3 billion people. His search for Patient Zero will take him from New York to South Korea to Jerusalem (you can see how the budget clocked up) to – finally – Wales, the little country that could in the war against the undead. It's a bleak, serious travelogue of humanity on the turn. Zero Dark Thirty for z-heads.
Romero loyalists may want to look away. WWZ's zombies (or "Zekes" as the military have it) are super fast and super strong. They'll have your jugular agape in a jiffy (bloodlessly mind – the film has been edited to catch a PG13 in the US – a decision that slips from odd to loopy to farcical as the devastation ramps up). At the sight of live flesh, Zeke'll swarm and flow like ants from a bust nest. Forster – marshalling his first big shoot since the Quantum of Solace kerfuffle – has a great time shooting mass panic. The bigger set pieces – the storming of Jerusalem via a giant zombie pile-on for example – are of the Roland Emmerich school of crowd dynamics. The more screaming, the more stampeding, the better.
It's only when the zombies' groans stop that yours are likely to start. World War Z's slow sections are draggy and predictable. Gerry's relationship with his family (ensconced on a navy cruiser off the coast of Washington) is a paltry scrap of emote-a-bait. His relationships with other survivors – an attempt to introduce a Walking Dead-style sense of fragility perhaps – are hampered by their tendency to get eaten a beat or two after we meet them. Brad Pitt, who accumulates a wacky homemade armour of magazines and gaffer tape, is slowly unveiled as Jesus among the chompable. The saviour of those who'll tumble under a bite or two.
The final third (the section that was rewritten by Lost co-creator Damon Lindelof) sees the film skid from goreless actioner to teeny-bopper horror, with Gerry and the gang creeping around a World Health Organisation lab that may hold the secret to humanity's salvation. It's out of kilter with the rest of the film, but it at least gives us time with the zombies face-to-face. Until then they've been a blur – a brainless, check-less mass of rage. Up close they are – as with most iterations of their kind – clumsy and rather tragic.
World War Z is not a brilliant addition to the zombie lore. But it's also not the shuffling mess it was rumoured to be. It's an attempt at large-scale seriousness in a genre that's frequently preposterous. It stumbles along on that intention. An early scene has Gerry holed-up in an apartment, pleading with his fellow survivors to make a run for it, despite the horde scrabbling at the door. "Movement is life," he says. "Movement is life." The humans don't listen: they pay the price. But Forster – intent on drowning out the doubters with cacophonous destruction – is all about speed and spectacle. He, at least, has taken Gerry's motto to heart.
